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論文(哲學碩士)--香港中文大學硏究院哲學學部,1994. / 參考文獻: leaves 193-201 / 梁光耀. / 導論 --- p.1-9 / Chapter 第一章 --- 現代藝術與藝術的定義 / Chapter 一 --- 導言 --- p.15-16 / Chapter 二 --- 本質與家族相似 --- p.17-25 / Chapter 三 --- 現代藝術的衝擊 --- p.26-33 / Chapter 四 --- 定義是一條表達本質的公式嗎？ --- p.34-41 / Chapter 五 --- 定義可幫助我們了解及欣賞藝術 --- p.42-50 / Chapter 六 --- 從功能方面給藝術下定義 --- p.51-61 / Chapter 第二章 --- 現代藝術與藝術的評價 / Chapter 一 --- 導言 --- p.74-75 / Chapter 二 --- 評價的基礎在於理由的給予 --- p.76-84 / Chapter 三 --- 反藝術對評價的質疑 --- p.85-93 / Chapter 四 --- 論Beardsley的審美價值論 --- p.94-109 / Chapter 五 --- 反思、作者意圖的創新在評價上的有效性如何？ --- p.110-119 / Chapter 第三章 --- 現代藝術與藝術的死亡 / Chapter 一 --- 導言 --- p.135-136 / Chapter 二 --- 論黑格爾的「藝術死亡」說 --- p.137-155 / Chapter 三 --- 論Danto的「藝術終結」說 --- p.156-169 / Chapter 四 --- Meta-art只是藝術發展的一個方向 --- p.170-176 / 結語 --- p.186-190

Includes bibliographical references. / 2 v. : ill. (chiefly col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates the contingent senses in which concepts of grammars and grammatical design apply in the practice of form making in art and design. Using the strategies of a literature review; an examination through a perspective of grammatical design of some selected bodies of art work, including interviews with artists, theorists and some designers; and the reflective practice of image making with computer media in the author's own work as an artists. / Thesis (Ph.D.)--University of Adelaide, Dept. of Architecture, 1998?

Includes bibliographical references. / 2 v. : ill. (chiefly col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Investigates the contingent senses in which concepts of grammars and grammatical design apply in the practice of form making in art and design. Using the strategies of a literature review; an examination through a perspective of grammatical design of some selected bodies of art work, including interviews with artists, theorists and some designers; and the reflective practice of image making with computer media in the author's own work as an artists. / Thesis (Ph.D.)--University of Adelaide, Dept. of Architecture, 1998?

Call number: LD2668 .T4 1966 R782 / Master of Science

Art History, Visual Arts & Musicology / M.A. (Fine Arts)

No description available.

The purpose of this creative project was to explore the need of the artist to represent a spiritual consciousness in a material-dominated society. It was felt that a return to the mythical origins of art and a resurrected faith in the supernatural would help stimulate creativity, promote inward growth and enhance the evolution of consciousness. The artist examined mystical and philosophical literature which lead to the use of the concept of the sublime by nineteenth century landscape painters as well as the "Abstract Sublime" painters of the mid-twentieth century. Also important was the effect of the Theosophic Society's geometric iconography and color theories on two of the pioneers of abstract art, Kandinsky and Mondrian. These inquiries were incorporated into a large,; three-dimensional, mixed-media installation. / Department of Art

Conceptual Art emerged as an international, avant-garde art movement in the mid-60s. Attacking the prevailing aesthetics of modern art, Conceptual artists claim that art lies not in the object itself but in the artist's idea or intention. Their asserted goals have been to combine theory with art and to eliminate the need for form in artworks. The purpose of this study was to examine and critique the key theoretical writings of three artists whose works have been recognized by the critics as significant and seminal for the Conceptual Art Movement: Joseph Kosuth, Sol LeWitt, and Terry Atkinson.Historical aspects relevant to this study included the following: (i) early twentieth-century antecedents of Conceptual Art; (ii) recent avant-garde movements of the 60s and 70s; (iii) the history and nature of the concept theories of Kosuth, LeWitt, and Atkinson; (ii) a critiqueof t ese theories in terms of their consistency and viabi ity for generating art; (iii) a comparison of Conceptual Art theories with both commonly accepted theories of art and more radical aesthetic theories of contemporary philosophers.Upon completion of this study, it was concluded that despite many ideological differences, Kosuth, LeWitt, and Atkinson agree on two key notions: (i) the locus of the "work of art" is not a physical object; and (ii) it is the artist's idea which alone accounts for the significance of an artwork. Their arguments in support of these notions are unsatisfactory. Longstanding issues in aesthetics, viz., the problems of defining art and evaluating its significance, are not resolved. The critics' acclaim of the writings critiqued in this study must therefore rest on extrinsic features such as the prestige of the artists, the relevance of the content of the writings to dominant trends in contemporary art, and the potential historical significance of their challenges to established views about art and aesthetics.

In this thesis, we defend the view of works-as-interaction by developing three independent arguments: the anti-textualist, the actionalist and the ecological arguments. The anti-textualist argument has two parts. First, the uniform category of text does not cover the diversity of types of literary works, as it is shown by oral works, multiple-texts works, visual literary works and numerical literary works. Second, we reject the idea that the text is sufficient to give the identity conditions of the literary work. The latter argument forces us to include the history of production and, in particular, of the generative actions required for the apprehension and appreciation of the ontology of the literary work. This is the historicist argument. However, before defending an actionalist point of view, various alternatives are considered. Thus, we consider various textualist proposals that claim to be able to accommodate historical aspects of the production of a work. From the weaknesses of these views, we move to other, more historically inclined, positions, in particular Levinson's post-textualist position. However, the latter is based on a theory of types which we find to be incompatible with his historicist inclinations. Moreover, Levison's views do not meet the requirements of an epistemology of performance. Thus, the actional thesis seems to be the only alternative left. Using Davies theory of performance as a springboard, we develop and defend the idea of the work-as-interaction according to which a work consists in a relation between the generative action and the integrative action. We also include an ecological premise. We develop a further criticism of analytic aesthetics and the theory of performance, arguing that the actions composing the environment, the context of reception in which the generative action is integrated, have to be included. Our thesis of work-as-interaction explains, on the side of the generative act, a variety of li